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The Iron Age provides more evidence for the decoration of walls with paint. First, the 8th-7th century BC fortified sites of the Urartian kingdom in eastern Anatolia have some paintings that combine Neo-Assyrian and Anatolian stylistic elements. Paintings from the temple at Patnos (Anzavur/Kot Tepe) depict bulls striding and kneeling. [ 5 ] At Van-Toprakkale, traces of blue and red paint were discovered in a temple. [ 6 ] Evidence for painting was also discovered at Altıntepe and Çavuştepe.
In the middle of the 6th century BCE, the Achaemenid Persian Empire, led by Cyrus the Great, conquered most of the polities that existed at that time across western Anatolia, most notably the Lydian kingdom of Croesus. The consolidation of this area under a single, external power from the east affected the indigenous cultures. A ruling Persian elite undoubtedly brought a knowledge of imperial iconography with them from home. Yet, these outside ideas combined with both local ideas as well as Greek ideas brought from the west, to form a new style used by Anatolians in the decoration of their walls. Most of our artistic evidence from this period comes from burial chambers.
For half a century before the Persians invaded, the Lydians of west-central Anatolia had been burying their rulers in stone chamber tombs under monumental tumulus burial markers, a form borrowed in part from the Phrygians. Although the Lydian tumuli become smaller after the Persian invasion, they also become more numerous. Thus a local burial tradition was allowed to continue, but with changes based on outside influences. For example, stone klinai (death couches) imitated Greek wooden originals in shape and painted decoration. Two of the known tombs of Lydian Tumuli had painted walls. Unfortunately, looting and destruction of the tombs, as well as the subsequent dispersal of the paintings and objects on the art market has significantly limited the scientific investigation of these tombs. The first tomb, called Harta, or Abidintepe , is located in Manisa Province and has three separate profile views of human figures. It is believed that these three persons were walking one behind the other with many additional figures in a procession around the tomb chamber, possibly bearing gifts for the deceased. This type of procession is very similar to the one carved in relief on the Apadana at Persepolis. Further Persian influence is evident from the servant costume worn by one figure that reflects costumes seen at Darius I's palace at Susa. [ 7 ]
A second Lydian tumulus, called Aktepe and located in modern Uşak province, has two human figures painted on opposite walls of the tomb chamber. They flank and face towards where the body would have lay. Their gestures include holding a branch towards the body with one hand and holding the other hand before their mouths, possibly as a sign of silent reverence. They appear to wear Greek-style clothing. Moving to the southeast edge of Lydia, we find a wooden tomb chamber from the Tatarlı tumulus near Dinar in modern Afyon province. The panels of this tomb were painted and include a scene of battling soldiers that is reminiscent of Greek vase painting. [ 7 ]
Two tombs from this period with wall paintings have also been discovered in Lycia. The Karaburun tomb has a scene depicting a man reclining and holding aloft a drinking bowl. This may reflect elements of the Anatolian tradition of the funerary feast, well known from tumulus burials at Gordion. The other painted Lycian tomb is Kızılbel , which depicts Greek legends from the Homeric epics, as well as aspects of kingship similar to those seen in Assyrian imagery. [ 8 ]
One unique set of wall paintings from around 500BCE was found at Gordion, the previous capital city of the Phrygian kingdom. A small building with many painted plaster fragments was discovered on the citadel between two larger megara, and was dubbed "the painted house." The fragments include pieces of human figures in profile, and thus may have been part of a procession similar to that seen in the Harta tumulus. The exact purpose of the painted house is unclear, though a ritual or even funerary function cannot be ruled out. [ 9 ]
Birth of a Legend
Wild Bill Hickok&aposs iconic status is rooted in a shootout in July 1861 in what came to be known as the McCanles Massacre in Rock Creek, Nebraska. The incident began when David McCanles, his brother William and several farmhands came to the station demanding payment for a property that had been bought from him. Hickok, just a stable-hand at the time, killed the three men, despite being severely injured.
The story quickly became newspaper and magazine fodder. Perhaps most famously, Harper&aposs New Monthly Magazine printed an account of the story in 1867, claiming Hickok had killed 10 men. Overall, it was reported that Hickok had killed over 100 men during his lifetime.
During the Civil War, Wild Bill Hickok served in the Union Army as a civilian scout and later a provost marshal. Though no solid record exists, he is believed to have served as a Union spy in the Confederate Army before his discharge in 1865.
In July, 1865, in Springfield, Missouri&aposs town square, Hickok killed Davis Tutt, an old friend who –ꂯter personal grudges escalated –me an enemy. The two men faced each other sideways for a duel. Tutt reached for his pistol but Hickok was the first to draw his weapon, and shot Tutt instantly, from approximately 75 yards.
Wild Bill Hickok’s legend only grew further when other stories about his fighting prowess surfaced. One story claimed he killed a bear with his bare hands and a bowie knife. The Harper&aposs piece also told the story of how Hickok had pointed to a letter "O" that was "no bigger than a man&aposs heart." Standing some 50 yards away from his subject, Hickok "without sighting his pistol and with his eye" rang off six shots, each of them hitting the direct center of the letter.
Deemed the “greatest painter alive” during his lifetime, Jackson Pollock was an American painter who was a major artist abstract expressionist art in the 20th century. Pollock was expelled from two high schools during his formative years, the second one being Los Angeles Manual Arts School, where he was encouraged to pursue his interest in art. In 1930, he moved to New York to study art, and secured a job under the WPA Federal Art Project, a New Deal project, which allowed him to earn a living from his painting.
As he was gaining professional and social success, Pollock fought the addiction of alcoholism and recurring bouts of depression. Two of his brothers suggested Jungian psychotherapy, with Dr. Joseph Henderson, who encouraged Pollock in his artistic endeavors as part of his therapy. Although the psychotherapy did not cure his drinking, it did expose him to Jungian concepts, which he expressed in his paintings at the time. In 1945, Pollock moved with his wife and American painter Lee Krasner to Springs, New York, where he would remain the rest of his life. In the barn behind the house, which he converted to his studio, Pollock developed a new and completely novel technique of painting using what he called his “drip” technique. Using hardened brushes, sticks, and turkey basters, and household enamel paints, Pollock squirted, splashed, and dripped his paint onto canvas rolled out over his studio floor. In 1956, Time magazine gave Pollock the name “Jack the Dripper,” referencing his unique style of action painting.
Recent studies by art historians and scientists have determined that some of Pollock’s work display properties of mathematical fractals, asserting that his works became more fractal-like throughout his career. In his later paintings, Pollock reduced the titles of all of his paintings to numbers, in order to reduce the viewers attempt to indentify any representational element in his paintings. Pressured by his growing fame and demand from art collectors, Pollock’s alcoholism worsened. In August of 1956, while driving under the influence of alcohol, he was involved in a single–car accident, killing himself and one of his passengers. Pollock’s legacy was secured by his widow, Lee Krasner, who managed his estate after his death. His legacy includes a number of references in social media, including songs, poems, books, and documentaries, and the feature film biopic Pollock, directed by and starring Ed Harris.
Jackson Pollock (January 28, 1912 – August 11, 1956) was an American painter and a major figure in the abstract expressionist movement. He was well known for his unique style of drip painting.
During his lifetime, Pollock enjoyed considerable fame and notoriety he was a major artist of his generation. Regarded as reclusive, he had a volatile personality, and struggled with alcoholism for most of his life. In 1945, he married the artist Lee Krasner, who became an important influence on his career and on his legacy.
Pollock died at the age of 44 in an alcohol-related single-car accident when he was driving. In December 1956, four months after his death, Pollock was given a memorial retrospective exhibition at the Museum of Modern Art (MoMA) in New York City. A larger, more comprehensive exhibition of his work was held there in 1967. In 1998 and 1999, his work was honored with large-scale retrospective exhibitions at MoMA and at The Tate in London.
Paul Jackson Pollock was born in Cody, Wyoming, in 1912, the youngest of five sons. His parents, Stella May (née McClure) and LeRoy Pollock, were born and grew up in Tingley, Iowa, and were educated at Tingley High School. Pollock's mother is interred at Tingley Cemetery, Ringgold County, Iowa. His father had been born with the surname McCoy, but took the surname of his adoptive parents, neighbors who adopted him after his own parents had died within a year of each other. Stella and LeRoy Pollock were Presbyterian they were of Irish and Scots-Irish descent, respectively. LeRoy Pollock was a farmer and later a land surveyor for the government, moving for different jobs. Stella, proud of her family's heritage as weavers, made and sold dresses as a teenager. In November 1912, Stella took her sons to San Diego Jackson was just 10 months old and would never return to Cody. He subsequently grew up in Arizona and Chico, California.
While living in Echo Park, California, he enrolled at Los Angeles' Manual Arts High School, from which he was expelled. He had already been expelled in 1928 from another high school. During his early life, Pollock explored Native American culture while on surveying trips with his father.
In 1930, following his older brother Charles Pollock, he moved to New York City, where they both studied under Thomas Hart Benton at the Art Students League. Benton's rural American subject matter had little influence on Pollock's work, but his rhythmic use of paint and his fierce independence were more lasting. In the early 1930s, Pollock spent a summer touring the Western United States together with Glen Rounds, a fellow art student, and Benton, their teacher.
Pollock was introduced to the use of liquid paint in 1936 at an experimental workshop in New York City by the Mexican muralist David Alfaro Siqueiros. He later used paint pouring as one of several techniques on canvases of the early 1940s, such as Male and Female and Composition with Pouring I. After his move to Springs, he began painting with his canvases laid out on the studio floor, and he developed what was later called his "drip" technique.
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Exceptional finds from the Fortress of Teishebaini (Karmir Blour) excavated in 1940-1970 under the guidance of academician Boris Pyotrovsky, as well as from the Urartian and other monuments on the territory of the Republic of Armenia: Erebuni, Argishtikhinili-Armavir, Lori berd, Bjni, Geghovit, Dvin, Talin and Tavush.
Cuneiform inscriptions, also the one, which states that the city of Yerevan was founded in 782 BC, also brief texts of worship, letters and arrangements carved on stone or tablets of burned clay.
Seals of stone and bone with the images of trees of life, winged creatures, scenes of worshipping deities, dragon-headed lions, winged horses and stellar symbols.
The history is before us: there have been discovered more than thousand exclusive findings during the excavations in Armenia.
Archaeological excavations have shown that vegetables, grains (wheat, barley, millet, oats), sesame hemp, legumes (lentil and chick pea), as well as fruit (apple, peach, walnut, pomegranate, cherry, grape and plum) were grown in the area.Grape seeds found here showed twelve varieties of grape from this period in the Ararat valley, among them Voskehat (Kharji), Mskhali (Ararat), Hachabash and some varieties of black grape. These ancient varieties are still grown in modern Armenia.
Wild types of wheat were found in Shorbulakh wheat field of Armenia. Only Pyramid of Cheops from Seven Wonders of the World has been preserved, and Shorbulakh wheat field, which is older than Pyramid of Cheops for 5000 years, from grain plants.
On the basis of all these we may say that the homeland of wheat is Armenia and first people who eat bread were Armenians. So it is natural that Armenian Cuisine is based on pulses, grains and granular.
ANCIENT BEER IN URARTU
In ancient times, especially in the period and era of Urartian kingdom (BC 9-6 centuries) the nation living in Armenian landscape was busy with agriculture, cattle-breeding and also they were adopting agricultural products into ready-made organic products. During the1958 Karmir Blur excavations a lot of ancient things were found such as huge barns, pots filled with wheat, special containers to brew and keep beer, more than 40 oblong vessels for storing beer.
Analyzing all this we come to a conclusion that the nation in Urartu was cultivating also a huge quantity of barley: However it was a fact that in those days brewing beer was widely spread all over, besides as a raw material they used to have not only barley, but also millet.
VITICULTURE AND WINE MAKING
Since ancient days Armenia was famous for the wine makers where original traditions were kept until these days. This can even be notified from such philosophers, such as Herodotus and Strabone. In 401-400 BC, when the Greek troops led by Ksenofon were passing through the country Nairi (the ancient name for Armenia), in their homes they were treated by beer and wine, those wines were stored in deep underground storages in special clay jars "karases". It's interesting, that in karases with beer have been inserted reeds which served for our ancestors as saltcellars.
In 19-20th centuries the excavations done by academician Petrovski confirmed the fact that this country which has got a birth in 9th BC located in the interaction of The East and The West was a developed wine-making country.
Archeologists have found out in fortress Teyshebaini wine storehouse with 480 karases, in which could makespace for 37 thousand decilitres of wine. During excavation in Karmir Blur (one of the ancient settlements in Armenia where first signs of life are found) and Erebouni (city-fortress in the territory of present Yerevan, built 2800 years ago which became the capital of Armenia in 2700) had been found 10 wine storehouses in which were 200 karases.
Gardens, orchards and especially vineyards were well-developed in Urartu. This is shown by the discovery of seeds, stones, pits and charred remains of plums, grapes, pomegranates, apples, apricots, cherries, walnuts and watermelons.
Viticulture was especially developed around Van, Aratsani Valley, Lake Urmia and Tigris river basins and the Ararat Valley. Some of the dozen-plus grape varieties still cultivated in the Ararat Valley – Voskehat (Kharji), Mskhali (Ararat), Hachabash and other varieties of black grapes – were also grown in Urartu. The survival and application of viticulture and wine-making traditions practiced in the Armenian Highlands contributes to the argument of an Armenian link with the ancient inhabitants of Urartu (Van Kingdom).
ANIMAL AND HORSE BREEDING
Animal breeding was practiced on the Eastern Anatolia Highland since the Neolithic. It was a major occupation of the pre-Urartian tribe Nairi– the main purpose of Assyrian raids on Nairi settlements in the 2nd millennium BC was stealing cattle.
Although animal breeding became secondary to agriculture during the Urartu period, it remained an important branch of economy, and was also used for regular sacrificial services in Urartian religion.
The animals bred included cattle (close to Bos primigenius), bull (Bos taurus), buffalo (Bubalus bubalis), sheep (Ovis aries), goats (the East Caucasian tur, Capra cylindricornis) and Capra domestica), pigs (Sus scrofa domestica), Persian gazelle (Gazella subgutturosa) and zebu (Bos indicus). Archeological finds indicate the presence of milk processing and cheese making in Urartu. Unlike cattle, horses had a strategic military importance and were used for chariots.Horse breeding was a major occupation in Urartu, and, owing to abundant alpine meadows, was better developed than in nearby countries.
URARTIAN ART AND CRAFTS
Urartian bronze and stone small sculptures, which are found in Van and Karmir Blur, give us the most complete understanding about Urartian Sculpture. Bronze statues have been parts of thrones and handles of ritual boilers and depict Gods standing on the imaginary animals, lions, oxen, as well as winged lions, oxen, birds like human face.
Secular and religious Mural Painting also occupied a unique place in the Van or Urartian culture. The palace and temples in Erebuni Citadel were richly decorated with multicolored and highly artistic frescos. The dominant fresco colors were black, white, red, blue and yellow. This palette was preserved in Armenian Medieval miniature painting.
The soil has kept not only the memory, but also specific memories:idol-statues, 1200 liter wine ritual karases, ritual vessels, arrowheads, lances, shieldes, gold earrings and bracelets, beautiful necklets. During excavations in the castle of Teyshebaini there have been found 97 bronze bowls into the great karas. On the cups made of high-quality with the mixture of bronze and tin are pictured the cuneiform inscriptions of Urartian four kings Menua, Argishti, Sarduri and Rusa I.There are carved the images of castle tower into the ritual cups.
All the mentioned culinary, household items, meals, food, dairy,vegetables and fruits are now forming special part of rural and urban population food in Armenia.
Many features of Urartian art were preserved in the neighboring countries after the fall of Urartu in the 6th century BC. Observations by Boris Piotrovsky suggest that decoration and production techniques of Scythian belts and scabbards were borrowed from Urartu. The Urartian way of decorating cauldrons spread over the ancient world, and it is believed that Armenian art were partly based on the Urartian traditions.
Downfall and Death
Overwhelmed with Pollock&aposs needs, Krasner was also unable to work. Their marriage became troubled, and Pollock&aposs health was failing. He started dating other women. By 1956, he had quit painting, and his marriage was in shambles. Krasner reluctantly left for Paris to give Pollock space.
Just after 10 p.m. on August 11, 1956, Pollock, who had been drinking, crashed his car into a tree less than a mile from his home. Ruth Kligman, his girlfriend at the time, was thrown from the car and survived. Another passenger, Edith Metzger, was killed, and Pollock was thrown 50 feet into the air and into a birch tree. He died immediately.
Krasner returned from France to bury Pollock, and subsequently went into mourning that would last the rest of her life. Retaining her creativity and productivity, Krasner lived and painted for another 20 years. She also managed the sale of Pollock&aposs paintings, carefully distributing them to museums. Before her death, Krasner set up the Pollock-Krasner Foundation, which gives grants to young, promising artists. When Krasner died on June 19, 1984, the estate was worth $20 million.
Success and Acclaim
Haring soon began to apply his universally recognizable imagery to freestanding drawings and paintings. The energy and optimism of his art, with its bold lines and bright colors, brought him popularity with a wide audience. He had his first solo exhibition in 1981, at the Westbeth Painters Space in Manhattan. In 1982 he began to show his art at the Tony Shafrazi Gallery, which would represent him for the rest of his career. Throughout the 1980s, Haring&aposs work was exhibited widely both within the United States and internationally. He also collaborated with other artists and performers, including Andy Warhol, Grace Jones and William S. Burroughs.
Always wanting to make his art more accessible, Haring opened a retail store called the Pop Shop in New York City&aposs SoHo neighborhood in 1986 the shop sold posters, T-shirts and other affordable items featuring Haring&aposs signature designs. Over the brief span of his career, the artist completed more than 50 public works, including the anti-drug mural Crack is Wack in a Harlem playground and an illuminated, animated billboard of his "radiant baby" image for New York&aposs Times Square. He also hosted numerous art workshops for children.
In 1988, Haring was diagnosed with AIDS. The following year, he created the Keith Haring Foundation to support children&aposs programs and organizations dedicated to raising AIDS awareness.
Art and Sculptures
Throughout the 1950s, Botero experimented with proportion and size, and he began developing his trademark style — round, bloated humans and animals — after he moved to New York City in 1960. The inflated proportions of his figures, including those in Presidential Family (1967), suggest an element of political satire, and are depicted using flat, bright color and prominently outlined forms — a nod to Latin-American folk art. And while his work includes still-lifes and landscapes, Botero has typically concentrated on his emblematic situational portraiture.
After reaching an international audience with his art, in 1973, Botero moved to Paris, where he began creating sculptures. These works extended the foundational themes of his painting, as he again focused on his bloated subjects. As his sculpture developed, by the 1990s, outdoor exhibitions of huge bronze figures were staged around the world to great success.
Partners in Crime
Some historians accuse Jesse and Frank of being cruel to Union soldiers, while others argue that it was the brutal treatment the brothers received that turned them to a life of crime. Either way, they rebelled against harsh postwar civil legislation and took the law into their own hands. They began robbing trains, stagecoaches and banks that were owned or operated by a Northern institution.
There has been speculation that the boys and their gangs were like Robin Hood, robbing the rich and giving to the poor, but there is no evidence for that. Most likely, they kept the money for themselves. From 1860 to 1882, the James Gang was the most feared band of outlaws in American history, responsible for more than 20 bank and train robberies and the murders of countless individuals who stood in their way. They stole an estimated $200,000. They were legends in their own time, popular in Missouri for actively trying to further the Confederate cause.
On December 7, 1869, the gang robbed the Gallatin, Missouri, bank. Jesse asked to change a $100 bill, and thinking that the banker was responsible for the death of Bloody Bill, shot the man in the heart. Local newspapers labeled the actions vicious and bloodthirsty and called for the gang’s capture. From that robbery to the end of their careers, members of the James Gang had a price on their heads, dead or alive.
In 1874, Jesse married his longtime sweetheart and first cousin, Zerelda, and had two children. Both James brothers were known as good family men who loved their wives and spent time with their children, but they still continued their life of crime.
Though protected by their community, they were always on the move. Even after other members of the gang had been killed, and their friends the Youngers had been sent to prison for 25 years, in 1879, the James brothers planned one more robbery with Charlie and Bob Ford. Little did they know that Governor Crittenden of Missouri had put together a reward fund so large that the Fords had turned traitor to earn it.
Analysis of Guernica by Pablo Picasso
One of the most famous 20th century paintings, Guernica was created by Picasso to express his outrage over the Nazi bombing of a Basque city in northern Spain, ordered by General Franco. Since then, this monumental black-and-white canvas has become an international symbol of genocide committed during wartime. Like another major work of Spanish painting entitled The Third of May 1808 by Goya, Guernica is a pictorial condemnation of a cold-blooded, faceless massacre of innocent people. It came about after Picasso was commissioned by the republican government of Spain to produce a mural painting for the Spanish Pavilion at the World Fair in Paris. At the time, Picasso who was resident in Paris, had been appointed honorary director-in-exile of the Prado Museum, Madrid. (His last visit to Spain occurred in 1934 and he never returned.) After its completion, the mural was exhibited in Paris, amidst growing support for fascist parties in France and other European countries, where it caused considerable controversy both for its Cubist-style figure painting and its political theme. After Paris, it travelled to America, where it was exhibited at the San Francisco Museum of Art as well as the Museum of Modern Art in New York, into whose hands it was eventually placed for safe-keeping. It continued to tour extensively in North America and Europe, but Picasso refused to return it to his native Spain until democracy had been reestablished.
Composition and Interpretation
Replete with symbolism, Guernica is a massive work, measuring 3.5 metres (11.5 feet) high, and 7.8 metres (25.5 feet) wide. Although packed with anguished imagery showing the suffering of both people and animals, it is painted in monochrome, using a palette of grey, black, and white. Perhaps Picasso wanted to give his painting a veneer of photojournalistic realism or maybe the bleak, night-time colour scheme complemented the jagged shapes and terror-stricken faces, and added to the sense of panic and terror. In any event, the lack of colour gives added impact to the flattened Cubist forms, and adds to the drama of the work by allowing Picasso to highlight key faces and objects in white.
Note: Guernica is a comparatively late example of Cubism, which - like Weeping Woman (1937, Tate Gallery, London) - was executed in a more realistic style than (say) his works of analytical Cubism, like Girl With Mandolin (1910, Museum of Modern Art, NY), although it shares the latter's monochrome palette. The other Cubist idiom developed by Picasso and Georges Braque (1882-1963), was synthetic Cubism, a style which incorporated new materials (like collage) into the picture surface. See: Cubist Painters (1906-14).
The scene depicted in Guernica is a room full of moving, screaming and dying adults, children and animals. Most of the individual images are also symbols (see suggested meaning in brackets). On the left, a bull (virility of man) pierced by jagged shrapnel (its wounds plus its passivity suggests man is in trouble) stands over a wailing woman with a dead child in her arms (pieta image, the age-old suffering of women in war). In the centre a horse (representing innocent people) is whinnying in agony from a terrible injury in its side. Underneath the horse are the shattered remnants of a dead soldier in the grip of the hand on his severed arm is a broken sword out of which a flower grows. On the palm of his other hand signs of the stigmata of Christ are visible, indicating martyrdom. Above the dying horse is a blazing light (symbolizes incendiary bombs that fell on the town), which is also reminiscent of the bare bulb in a prison cell (torture). On the horse's right, an open-mouthed woman seems to have stuck her head and arm through a window (horrified observer). In her hand she holds a lighted lamp. Another confused woman moves from the right towards the light in the centre (dazed victim). On the extreme right of the room, a figure screams in agony as it is engulfed by flames (innocent victim).
There are numerous other symbols and fragments in Guernica. They include a dove (peace), part of whose body forms a light-emitting crack in the wall (hope) as well as knife-points in place of the tongues of the bull, horse and wailing woman (perhaps indicating the sharpness of their pain). In addition, two supposedly 'concealed images' have been identified: a human skull whose shape is formed by the nostrils and upper teeth of the horse and the skull-like head of another bull formed by the angle of its front leg.
In September 1981, Guernica was moved from MOMA in New York to the The Cason del Buen Retiro, an annex of the Prado Museum complex in Madrid. In 1992, it moved to a purpose-built gallery at the Museo Reina Sofia, home of Spain's national collection of modern art of the 20th century.
Note: A tapestry copy of Picasso's Guernica painting was commissioned by the businessman Nelson Rockefeller in 1955, after Picasso refused to sell him the original. Displayed from 1985 to 2009 on the wall of the United Nations Building in New York City by the entrance to the Security Council, it was moved to the San Antonio Museum of Art during the period 2009 to 2012, before being returned to the UN.
Explanation of Other Paintings by Picasso
La Vie (Life) (1903)
Picasso's first major work, commemorating the death of Carlos Casagemas.
Boy with a Pipe (Garcon à la Pipe) (1905)
Rose Period portrait painted at Le Bateau-Lavoir.
Portrait of Gertrude Stein (1906)
Early painting of the Parisian art collector.
Two Nudes (1906) Museum of Modern Art, New York.
Sculptural-like pair of female nudes - as if carved from rough stone.
Les Demoiselles d'Avignon (1907)
Picasso's pivotal step towards Cubism.
Seated Woman (Picasso) (1920) Musee Picasso, Paris.
A modernist neoclassical version of an antique pose and drapery.
Large Bather (1921) Musee de l'Orangerie, Paris.
Figure inspired by Greek sculptures from the Parthenon.
Two Women Running on the Beach (The Race) (1922) Musee Picasso, Paris.
Classicist composition featuring Dionysian Maeneds in a state of ecstasy.